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Ceramics & Glass (MA)

Beatrice Galletley

Beatrice is a ceramic artist based in London, she gained her BA in Fine Art at Newcastle University where she graduated with a 1st class honours in 2018. She studied for her Masters in Ceramics and Glass at the Royal College of Art. Beatrice has exhibited throughout the North East and London.

Beatrice continues to develop her intuitive ceramic practice focusing on defying boundaries and categories, developing her work for ambitious large scale installations, site specific projects and private commissions. She also enriches her practice through teaching and residencies.

For sales, commissions and any further information please contact Beatrice at


RCA2020, online show, 2020 

24/4, Private Home, Gloucester road, February 2020 

The Amber Room, An Exhibition and Supper Club curated by Rosie Reed and cooked by Tara Guinnes , September 2019

The Sea: Our Other World, Royal Collage of Art, November 2018 

Great Exhibition of The North, work shown in the Atrium of the Hatton Gallery, Newcastle University, July 2018 - October 18

Newcastle University Degree Show, Unit 8, Copeland park, Peckham, July 2018 

Newcastle University Degree Show, Fine Art Department, Newcastle University, June 2018 

Colloquium, Jesmond Dene Banqueting Hall, Jesmond, Newcastle, April 2018  

Interim, The Long Gallery, Newcastle, December 2017 

Tim loves art, Royal Opera Arcade, Pall Mall, London, December 2017 

Porosity, The long Gallery, Newcastle, May 2017 

Plinth, Project Space, Newcastle, January 2016 

Collection, Biscuit factory, Newcastle, April 2016 


The Amber Room II, 2020 


Intuitive making workshop, Newcastle University, February 2018


Highly commended for University Women in Arts, 2016


Lindisfarne Residency, March 2017

'As Above so Below, Allenshead Contemporary Arts, April 2016


Degree Details

School of Arts & Humanities

Ceramics & Glass (MA)

Our lives are intertwined with categories in which we like to place things. Objects are defined by form, colour and scale, but most importantly by their function and our understanding of them. Through my ceramic sculpture I hope to show how breaking these conventions can bring a new order and understanding to objects and ourselves within the world.

I am drawn to things that are multi-dimensional: they defy boundaries both physically and metaphorically. Life does not exist within a static state, so why should objects? This ever-shifting plane or mindset we live in is diminished in the way many works are displayed. I feel it is important to break this and situate artwork in the same fluid state it was created in. 

Ceramics have a unique relationship with objectivity because they are seen within the world in many categories, such as art, home, museum, sculptural, functional, decorative. The culture of ceramics is perfect for exploring objects that exist within the ‘in-between’. With the history of this medium and my unique ambiguous forms, I am able to address the ability of an object to be multi-dimensional and in a state of flux. I do this through merging opposing forms: Including geometric and organic, and playing with scale, and manipulation of context and colour to create works that are suggestive, acting as prompts. My hope is that the forms uniquely connect and resonate with each viewer, encouraging discussion and challenging their understanding of how they place, see and experience objects.

Not Permeant But Ever- Shifting — 61.5 x 45 x 39 cm

Not Permeant But Ever-Shifting — 61.5 x 45 x 39 cm

Not Permeant But Ever-Shifting, Detail — 61.5 x 45 x 39 cm

Ever-Shifting — 77 x 36 x 60 cm

Ever-Shifting — 77 x 36 x 60 cm

Ever-Shifting — 77 x 36 x 60 cm

Ever-Shifting, Detail — 77 x 36 x 60 cm

Ever-Shifting, Detail — 77 x 36 x 60 cm

I am fascinated and drawn to objects in a state of flux as they challenge and develop our existing understanding of the world. I have created objects that defy boundaries and its ability to be categorised.

Through creating large scale sculptures I encouraged the viewer to think about their physical relationship with the object and how it relates to their bodies? How they are forced to move around it? By drawing the viewer to think about themselves and the object it would spark a new way of looking at things within the world and developing our understanding of us and objects. Breaking order into chaos to create a new enriched sense of order.



Engaging I

Engaging II

Intimate, I am multi- dimensional I — 11 x 10 x 13 cm

Intimate, I am multi- dimensional II — 6 x 6 x 5 cm

I look at our relationship with the physicality of objects and examine how we have lost our material intelligence and what this means in relation to understanding ceramic objects. How physical engagement with an object can change and or push an artwork in to new worlds of meaning. Creating objects on a small scale allows the viewers to create an intimate relationship with these objects, reengaging their sense of touch and helping them to see how breaking categories can deepen their understanding of objects.



Freedom — 31 x 48 x 35 cm

Freedom — 31 x 48 x 35 cm

Shape Shifter I — 12 x 25 x 16 cm

Shape Shifters II — 12 x 23 x 23 cm

Shape Shifter III — 12.5 x 20 x 16 cm

Shape Shifters V — 14.5 x 19.5 x 26 cm

Shape Shifter VI — 12 x 23 x 20 cm

Shape Shifters Collective — 12 x 23 x 20 cm, 14.5 x 19.5 x 26 cm,12.5 x 20 x 16 cm, 12 x 23 x 23 cm, 12 x 25 x 16 cm

It was important that i created varying scales of sculptures, this allowed the works to be accessed by every viewer. These sculptures are larger than 'Intimates in flux' as the scale helps to show the possibilities an object has being in a state flux, not confined to traditional categories and boundaries. These objects have no set resting place they are multifaceted, they can be moved or positioned in any way as demanded of them. The importance of this movement is to encourage people to see that by limiting objects we limit their potential and reduce our understanding of them and the world.

The incorporation of physical engagement creates an environment in which an object can take on a versatile domain and have a dynamic and ever-shifting existence



Imagination — 12 x 23 x 23 cm, 12 x 23 x 20 cm, 14.5 x 19.5 x 26 cm, 77 x 36 x 60 cm

Imagination, Detail

Flow — 77 x 36 x 60 cm, 31 x 48 x 35 cm, 61.5 x 45 x 39 cm

Flow, Detail

Theses works were to exist as an installation but due to Covid 19 I was unable to complete the work and finish the installation. So within in my studio I began to play around with different compositions, seeing the different relationship between the objects and thinking about how I can develop these works further.

My work always exist as multiples and installations, it has always been important they work as a collective but also that they have the ability to exist on their own outside of the installation i originally intended them for. My sculptures are not constrained or confined by boundaries limits or boards.


Exploring The Situation. Finding Ceramics.....
This artist book is a visual link to my thesis ‘Finding Ceramics, Exploring The Situation’ and takes on the format of a zine as it echoes how the conversation is in flux. My thesis was a personal exploration of my interest in ceramics’ multidimensional position within the world. I have always been unsure where I position myself; having studied fine art but always used clay as my medium, this has raised question and challenges towards my use of material. I became very interested in objects and, in turn, artwork that challenged our conventional understanding of themselves and their position through being multidimensional and not existing within a singular category. This exploration within my thesis became the building blocks for my creative practice.
Through this book I hope to develop upon my initial thoughts and writing, to see if I have answered some of the questions I explored in my thesis, or if through physically making, I have generated new questions. The structure of my artist book exists around the structure of my thesis; using the chapter headings as a base structure of my portfolio. I also reference relevant observations, and quotes which I aim to support through images or develop through new writing and images in relation to each other.


Artist Book

It is taking what we know and understand and flipping it on its head.

Habits take 21 days to break they say…. I wonder how long it will take for these objects to break our habit of categorising.

Limits only exist within mind. let go free yourself.

Breaking the conventional norm will help you to stop, look, engage and grow.

Handling slows us down it triggers contemplation.

What if there was no gravity?

During lockdown I began to create these collages looking how I can develop my practice, while not being able to physically make. These collages have now become extremely important for me highlighting new elements I wish to explore in work such as humour, absurdity and surrealism. For me these collages encapsulate what I have been trying to explore the defying of boundaries and allowing an object to exist within a state of flux. I hope to develop the elements within the collages into physical sculptures.

‘The transient nature of an object has a particular function to allow people to engage with it, change it and depending on the situation develop it. This is an exciting prospect as it begins the journey of permitting people to see the objects within our world in a different light and the endless possibilities and knowledge that these objects can bring if they are given the opportunity
It is this constant undecided future that it curious; where will you find the ceramics next?’


Digital Collages
21 July 2020
12:30 (GMT + 0)

Engaging through materials: Collaboration, Community and Communication with ceramics and glass

This discussion explores ways that students in C&G have expanded their practices beyond the studio.
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